Indholdsfortegnelse for November 2015 i Future Music

WELCOME Chop And Change The way DJ technology has moved forward in recent years is, in many ways, both a blessing and a curse for those behind the decks. On the one hand, there are now infinitely more creative possibilities open to DJs at every level. You want to loop a section of a track? Easy. Want to apply ten effects at once? That’s only a button press away. Feel the need to drop an airhorn sample every two bars? Simple… The flipside to this though, is that it’s increasingly hard for DJs to stand out – since cutting and chopping skills that once took years to learn are now available to anyone with the latest controller, how are you supposed to make an impact? Assuming you can’t afford the…

BONUS SAMPLES See this month’s selection of free demos at vault.futuremusic.co.uk beatport® SOUNDS http://sounds.beatport.com 01 Class A Samples Amsterdam Dance Expansion 02 Sharp Twerk’d 03 BPM Recordings Technoplex 04 Control Sounds Crushing Techno Basslines 05 Datagroove Loops Lander B And Oscar Escapa: Techno & Tech House 06 Filthy Patches Riddim II 07 Little Bit Underground House And Techno 08 Defected Percussion Samples By Shovell Loopmosters www.loopmasters.com 01 Dread Recordings Margaman: Drum and Bass Volume Three 02 Loopmasters Artist Series Full Intention: House Republic 03 Loopmasters Leftwing and Kody Pres In Tech 04 Niche Audio Hyper Dubstep 05 Loopmasters Presents Organic Electronics 06 Organic Loops Presents Jazz & Lounge Keys 07 Singomakers Halloween Trap Insanity 08 Sample Diggers South Coast Dub…

In The Studio With… 7STU7 “The studio was State of Art in an industrial unit in Easton, Bristol. It was pretty rough round the edges, with carpet on the walls, low ceilings… not what you’d imagine a studio to look like, but it had a good vibe. “All the beats were made by Specify, using his MPC 2000. Then it all went to 2-inch tape, sync’d with a SMPTE/MTC unit. It was always transferred to second-hand reels, as no one involved could afford new tape! As one track was striped with code we had 23 tracks to play with, so we’d usually have to bounce more than one sound to a track, EQing or compressing before hitting tape if necessary. Once the beat was down we’d get a bit of…

ALBUM OF THE MONTH Khruangbin The Universe Smiles Upon You Night Time Stories Texas based trio Khruangbin have quickly made a name for themselves with their deliciously dreamy and psychedelic groove-laden guitar sound. Having first appeared with a track on Bonobo’s Late Night Tales compilation in 2013, the band were promptly signed up to LNT offshoot Late Night Stories and have subsequently released two well-received EPs. The band, comprised of Laura Lee on bass, Mark Speer on guitar and Donald ‘DJ’ Johnson on drums, now drop their debut LP, The Universe Smiles Upon You. The record features an expansive soundscape that merges elements of ’60s Thai funk, dreamy, sultry Soul, Surf Rock and Alternative Folk into their own addictive psychedelic style of Funk. Their sound is individual, exotic and full…

Basic Warping In Ableton Live Taking a few moments to warp a track makes it easy to edit it up in a flash. Here’s how to do it in the DJs’ favourite DAW, Ableton Live If you’re unfamiliar with Ableton Live’s approach to warping tracks to fit the project tempo, it might look intimidatingly complex, but in reality it’s a very straightforward system that’s extremely quick to use once you’ve got the hang of it. In the following tutorial we’ll show you how to warp up a track in three simple steps. This is useful because it means, once a track is slaved to Live’s project tempo, we can adjust the tempo and pitch of the track independently, and can quickly select specific bars and edit them as we see…

DOS & DON’TS DO… try out unusual combinations of material – as long as the music fits together, the more sophisticated audience loves surprising juxtapositions of styles. Re-editing familiar tracks into unusual new arrangements can help re-invigorate them too. DON’T… go overboard on the processing. If you’re using already mastered tracks they almost certainly don’t require further gain reduction. EQ can be useful to help two tracks sit together in a mashup, but won’t usually be necessary otherwise unless you’re working with a particularly poor or vintage recording. DO… make your intros as DJ friendly as possible. That don’t have to be ridiculously long and beat-centric, but a few clues to a track’s tempo during its intro can make all the difference in a stressful mixing situation. DON’T… layer two…

Enhancing A Kick Drum In Ableton Live If only the biggest and baddest beats will do for your re-edits, you’ll need to do a little surgical drum replacement. Luckily that’s easier than it sounds > Load the Edit.als project up in Live, and put Voxengo’s excellent spectral analyser SPAN (a free download from www.voxengo.com ) on the master buss. Play the project back and hover the mouse pointer over where the kick peaks in SPAN – you’ll see this happens at 67Hz, or C2. > We can double check the key of the track by loading up a synth and tapping along with the track, and this confirms that C is indeed the key we’re working with. Let’s find a compatible kick drum sound to supplement the…

Pan-Pot Pan-Pot’s busy tour schedule makes them one of the hardest working DJ acts on the planet. That’s had an impact on their studio time, yet Danny Turner discovers why the eight-year wait for new album The Other has not been in vain © Joby Sessions Over the past decade, Berlin-based DJ and production duo Pan-Pot have toured relentlessly, building themselves a reputation as one of Dance music’s most industrious, yet consummate DJ double acts. In 2007, following a stream of EPs, they released a debut album Pan-O-Rama. Since then, Tassilo Ippenberger and Thomas Benedix have worked on several follow-ups, all of which were shelved due to live commitments. As DJs, their vast experience playing to a wide range of audiences at the biggest clubs in the world is almost…

INCLUDES VIDEO Octocontrolling Your System Create a synth voice, add modulation, and then create drum patterns with the Octocontroller We’re going to enhance a synth voice with the Octocontroller’s versatile modulation capabilities and create an accompanying beat. We’ll need an oscillator, envelope, VCA, filter and drum modules to be modulated by our Octocontroller, which provides our pitch CV, gates and modulation. We’ll then create some random modulation to spice up the patch. With any sort of random modulation or pattern generation we like recording everything into a DAW to capture those ‘magic moments’ that can often pass by quickly. Luckily with the Octocontroller’s random modes we don’t necessarily have to, as it continually writes its previous bar of values to internal memory. If we press the related option button, it…

Ableton Push Part 2: Essential Techniques & Workflow Tips INCLUDES VIDEO AND AUDIO VAULT.FUTUREMUSIC.CO.UK Back in issue 296’s Producer’s Guide, we took you on a three page whistle-stop tour of Push, Ableton’s feature-laden MIDI controller instrument designed to control multiple aspects of their Live 9 DAW. After covering the basics – such as step-sequencing in Drum Rack Mode, Note Mode and general workflow – it was clear that we’d barely scratched the surface of Push’s capabilities. So, with that in mind, we’re now going to build upon our previous foundations and delve deeper into the Live-Push experience to explore further features and concepts. Many of the following tips, tricks and techniques come directly from one of the masterminds behind the controller’s development, Ableton Push Product Owner Jesse Terry,…

QUICK TIPS 1 When step-sequencing drums or melodic material, you can use several fingers to enter or delete several notes at once, or hold down multiple notes before adjusting note or automation values simultaneously. 2 nativeKontrol’s free ClyphX is a MIDI Remote Script that allows you to save Push’s current key and scale settings within a clip. Download the script at http://bit.ly/ClyphX 3 Create quick loop variations when working with the step sequencer: use the Double button to copy your current clip’s contents over, make a few variations, then tap on the loop length pads to jump the loop markers throughout the clip on the fly. 4 When in Session Mode, to see a scene’s name appear on the display, hold Select and tap that scene’s Scene/ Grid button.…

Nord Electro 5D 61-Key | £1,299 Electro 5 is the biggest upgrade to the Electro range since its launch. Dan ‘JD73’ Goldman investigates WHAT IS IT? Fifth incarnation of the Nord Electro, featuring EPs, pianos, organs, samples, effects and some tasty new features CONTACT Who: Clavia/Nord Tel: 01462 480000 Web: www.nordkeyboards. com HIGHLIGHTS 1 Splitting and layering at last, plus more general flexibility 2 New OLED screen and Setlist modes are a welcome addition 3 Extra memory allows a much bigger range of sounds onboard SPECS Keyboard: 61 (C-C) velocity sensitive waterfall keybed, Splits/layers Piano: 1GB memory, String Resonance, Long Release Sample: 256MB memory, Attack and Decay/Release control, Filter/Velocity Organ: Adjustable percussion/key click, Vibrato/Chorus, 4 Tonewheel modes Effects: 2 Effect blocks plus master reverb and delay I/Os: L &…

Analogue Drums Creation Could you give me some general tips for creating analogue-style drums within my DAW? Any plug-in synth that has white noise on offer and a self-oscillating resonant filter can do this. The principles involved are exactly the same as making drums on any analogue synth. Use the self-oscillating resonance from a resonant LPF for your kick, using the cutoff to pitch the kick sound and use white noise for your hats and snare, fed through resonant filters. These basic sounds can then be sculpted using envelopes and EQ to make them sound more drum-like. They can then be sampled and processed to fit your requirements. > To make the kick we’re using Logic’s ESP polysynth. Turn all the oscillator waves off, set resonance to full and use…

EXPERT CONTRIBUTORS THIS MONTH… Tim Cant musician, producer Tim is the man behind this issue’s Ultimate Edits cover feature. Head for page 28 where he’ll take you through how to quickly and easily give classic tracks your own personal touch, and help you add some unique edits to your DJ arsenal. Joe Rossitter musician, producer This issue sees Live connoisseur Joe returning for part two of his Producer’s Guide to Ableton Push. This time around we’re looking at melodic step sequencing, automation and controlling external hardware. Head for page 75 . Dan ‘JD73’ Goldman musician, producer Dan has been tackling keyboards big and small for us this issue, from the compact Reface range from Yamaha, to the latest iteration of Nord’s…

Aspects Correct English Hombré, 2001 The year 2001 was something of a golden age for UK Hip-Hop. On one side you had Roots Manuva’s Run Come Save Me mixing up sound system culture and coded lyricism to maximum potential, and on the other you had the bedsit Malcolm McLaren, Braintax, building an empire with his Low Life label, and his own high-watermark album, Biro Funk. In the middle of all this you had a posse of crystallised talent called the Aspects, who stormed into the picture from their native Bristol with a rabid beats and rhymes hybrid that, looking back, was one of the most unique voices in the middle of our very own Hip-Hop renaissance. The Aspects crew had many arms and legs (and mouths, and balls), but core…

LIKE IT? TRY THESE… Roots Manuva Run Come Save Me Big Dada rapper’s near flawless second LP. Contains the ultimate UK Rap track, Witness (1 Hope) , and other quintessentially British flows. ADD THESE TO YOUR PLAYLIST: Join the Dots, Witness (1 Hope), Dreamy Days| Fleapit Music From The Ditch Where the Aspects repped Bristol, Fleapit claimed Cardiff. The two crews collaborated on this curiously concocted album as well. Strong stuff all round. ADD THESE TO YOUR PLAYLIST: Live From The Valley Of The Gwangi,| Greyskull Takeover Bid, Fleastyle| Braintax Biro Funk Low Life records head honcho brings in some of his then friends to join him on an inspired audio diary of his UK Rap experiences. ADD THESE TO YOUR PLAYLIST: Riviera Hustle, Don’t Drag Me…

RECOMMENDED Floating Points Elaenia Pluto Despite first coming to attention in 2008 and since garnering huge praise in an already impressive career, Floating Points, real name Sam Shepherd, is only just releasing his debut album. Five years in the making and produced with meticulous attention to detail, Elaenia displays the same wide-ranging influences and discerning musicianship that fans of Floating Points’ DJ sets have become accustomed to. Just as his performances throughout his five-year residency at London’s now defunct Plastic People were eclectic, challenging and adventurous, the musical proclivities on his debut record show no borders. Drawing influence from electronic music, Jazz, Classical, Soul and Brazilian music, Elaenia walks a diverse and varied soundscape. Bringing together the visceral spirit of electronic music and the cerebral musicality of his classical roots,…

Re-Edit A Warped Track In Ableton Live Once you’ve warped your track you can re-arrange and tweak it to your heart’s content. Here’s how to get smooth-sounding edits… > If you haven’t completed the previous tutorial already, load up WIP edit.als to get up to speed. Vortex’s intro isn’t very long – a mere 16 bars before a 32 bar breakdown. Unfortunately, the intro features a pad with a gradually opening filter on it. > We need to find a section we can loop without it sounding too unnatural. Drag over bars 1 to 9 on the clip, and press Ctrl/ Cmd+L to loop the section. Play the project back. This loop doesn’t segue very smoothly: the filter movement on the pad is too obvious. >…

Grimes Beyond her distinctive vocals, Claire Boucher is a producer with a unique vision and a passion for sound design. Danny Turner chats to the candid star about gear, the pressures of success and a ‘pivotal’ album release © Ye Rin Mok Born and raised in Vancouver, Canada, Claire Boucher is one of a small handful of rising artists breaking down the barriers between Dance music, Pop and experimental Electronica. Perhaps it was the fact that Grimes thought nobody would ever listen to her kooky, idiosyncratic 2010 debut album Geidi Primes that led to its eccentric appeal. The more ‘complete’ Halfaxa was churned out later that year to a welter of positivity. In 2012 Grimes delved deeper into the depths of her imagination with the album Visions, recorded entirely using…

What software helped you most during the mixing phase? Tassilo: “We loved using iZotope’s Alloy 2, which is on virtually every track on the album. It’s a great channel strip that we use for all kinds of sound modelling. Apart from that, I also have almost all of the UAD plug-ins, including the Ocean Way studio stuff, which was also important in the mixing process. For sound creation, we used Spectrasonics Omnisphere a lot because it’s a great sample-based synthesizer, so a lot of our sound textures were created with that one. We also used the Nexus and Virus TI virtual synths a few times, and for bass and kick drums we used a lot of samples from all the great sample libraries we have.” Thomas: “For the most part,…

The King of the Akemie’s Castle We sat down with Matthew of ALM Busy Circuits to discover what led to their remarkable Akemie’s Castle module ALM Busy Circuits are a small British module manufacturer based just outside of London. There’s a sort of a ‘1980’s alternatereality’ aesthetic to their modules, which all seem to have a well refined functional role and a clean design. They may be best known for their Pamela’s Workout clock divider and multiplier, their first module, which uses a vintage HP calculator display for a screen. If Ferris Bueller had a modular rather than an Emulator II, we’d like to think he might have an ALM system. After our review of their new Akemie’s Castle FM module, we wanted to ask Matthew from ALM to tell…

Dirty Vegas At the dawn of the noughties, Grammy award-winning House act Dirty Vegas played their own part in Dance music’s explosion into the mainstream. Danny Turner finds out how the duo’s studio has adapted to their niche sound © Kevin Lake Dirty Vegas took America by storm in 2002 when their UK single Days Go By was licensed for a Mitsubishi Eclipse commercial. Exposure spread from television to radio, the single hit the number one spot in the US Dance chart and the trio received a Grammy award for Best Dance Recording the following year. Several album releases later, the group have slimmed down to a two-piece and find themselves in demand on the international DJ circuit. With their fourth studio album just out, their life-affirming blend of acoustics…

Push Preparation An efficient Push workflow requires a certain amount of pre-preparation, so we asked Ableton’s Jesse Terry for a hefty helping of expert advice FM: Firstly, what’s your role in the development of Push? JT: “I’m the Product Owner for Push, which means I define the vision for the product, and try to translate this vision along with a really talented team of designers and developers.” How should users organise sounds, sample libraries and Racks for use with Push? Are there considerations when building Racks and devices? “If you want to have a set of device parameters that are specific to your workflow, make your own Instrument and Effect Racks in Live, then save these presets. Take note of where you want the most important parameters to be –…

Navigating clips and scenes with Session Mode Live’s Session View is great for sketching out ideas. Here’s how to navigate it with Session Mode 01 When in Session Mode, the 8x8 ‘frame’ in Live represents the clips displayed on Push’s pads. Use the bottom-right arrows to move this frame around by one scene/track; hold Shift and press (or use the Octave Up/Down buttons) to move by eight. 02 Currently-playing clips pulse green, recording clips white, and others their respective colours. Tap a clip to launch it and launch a horizontal scene using the right column of Scene/Grid buttons. Hold Delete and tap a clip to delete. 03 To stop a clip, tap an empty slot on that track; alternatively, hit the Stop button to activate Stop Mode, then press a…

Yamaha Reface DX | £347 The first new DX-badged synth since 2001’s DX200 module is here. Dan ‘JD73’ Goldman sees what’s new… FM synthesis has been experiencing something of a renaissance recently, largely due to the popularity of soft synths such as Native Instruments’ FM8, Primal Audio’s FM4 and Digital Suburban’s Dexed. These authentic sounding, feature rich, backwards compatible soft synths have ensured that FM synthesis has stayed relevant for modern day producers. Save for the MOD7 engine in Korg’s Kronos and Nord keeping FM alive in their Lead/ Stage models, the big players (and particularly Yamaha) have largely abandoned FM in favour of sample-based synthesis. It’s a real shame, as the only thing really holding back FM synths of old (including the brilliant SY77/99 and FS1R) was the lack…

ONLINE VAULT Where’s My DVD? vault.futuremusic.co.uk Future Music has outgrown its covermount DVD! We wanted to bring you more samples, sounds and high-quality video than ever before, so we’re putting it up online for you to download. Simply head to the FM ‘Vault’ at the link above, login/ register, then hit ‘add a magazine’ to register this issue and get all the video, audio and samples. SAMPLE PACKS Exclusive new sounds with every issue CYCLICK SAMPLES PRESENT… Distorted Drums 649 crunchy, fuzzy and filthy hits and beats. From beefed-up kick drums to saturated snares – give your beats some grit! GROOVE CRIMINALS PRESENT… Acid House Essentials 511 heavy beats and resonant bass loops. We break out the 303 to give you all you need to create Acid classics. PLUS ACCESS…

SUBSCRIBE TO Future Music® Technique and technology for making music CHOOSE YOUR PACKAGE… PRINT Get the print edition delivered to your door every month, plus access to Future Music’s online Vault to download videos, samples, tutorial files, and more. Only £31.50 EVERY SIX MONTHS DIGITAL Instant access on your iPad, iPhone, and Android device, plus access to Future Music’s online Vault to download videos, samples, tutorial files, and more. Only £13.50 EVERY SIX MONTHS GET THE COMPLETE PACKAGE PRINT + DIGITAL > Access to Future Music’s online Vault to download videos, samples, tutorial files, and more > Get the print edition delivered direct to your door and instant access on your iPad, iPhone and Android device > PLUS You get huge savings, the best value for money, and a money-back…

ULTIMATE EDITS Creating custom DJ re-edits, remixes and mashups is a snap thanks to the tempo-detection capabilities in most DAWs. Let’s cut and paste Since Dance music records have existed, DJs have been on the lookout for new ways to present them. We’ve come a long way from the rough-fingered, tape-splicing dons of ’70s Disco: today’s DAWs make it possible to throw together your own unique edits in minutes or even seconds! So, what is a re-edit? In its purest form it’s a version of a track that has had its arrangement altered in some way, for example by extending a track’s percussive intro section so that it’s easier to mix. This can be achieved by copying and pasting the relevant part of the track – a simple enough task…

The Cutting Edge There are several other applications that make your life easier working with re-edits. Mixed In Key ($58, www.mixedinkey.com) helps DJs determine which tracks will work together by analysing their harmonic content and key. A chart is provided that shows which keys work together, which rules out a large portion of your material base and helps you find a suitable mashup candidate more quickly. Also from Mixed In Key is Flow ($58, www.flowdj.com), a DJing application with baked-in harmonic analysis and the ability to use Native Instruments’ Stems format. This makes it possible to create mashups from tracks’ individual stems in real time – not for the faint-hearted, but if you’re a dab hand with a MIDI controller you might find it the ideal tool for cranking out…

DIY Acapellas In Ableton Live If you have both a vocal and instrumental version of a track, it’s possible to create your own DIY acapella with a little phase cancellation… The simplest way to create a DIY acapella requires you have both the full vocal and instrumental versions in your possession. The theory is that the only difference between these versions will be the vocal. Therefore, inverting the polarity of one of the tracks’ waveforms will cause everything apart from the vocal to disappear thanks to the magic of destructive interference. Unfortunately, there will often be subtle differences between the vocal and instrumental versions, and they may have received different treatment at the mixing, mastering and encoding stages, further complicating matters. The proof is in the pudding, so let’s give…

Warping Acapellas In Ableton Live Warping acapellas in Live can be much trickier than warping a full mix, but here’s a cunning trick to ease your frustration… Making a re-edit of a track that varies in tempo can be a frustrating task, and there are many reasons why a track might have fluctuating timing: it might not be sequenced or played to a click track, or it may be recorded via equipment that hasn’t maintained a perfectly stable rate of recording. If the audio has been ripped from vinyl, this is another point at which timing fluctuations can appear. On the plus side, spending time warping a loose track means that when you come to play it in a set, its corrected timing will make it easier to mix. Generally,…

Hauswerks I See You Baby (Remix) Moda Black, 2015 © Joseph Branston INCLUDES VIDEO VAULT.FUTUREMUSIC.CO.UK Remixing another artist’s work always presents interesting challenges, but these are multiplied considerably when the work in question is a seminal dancefloor classic. That’s the challenge stalwart UK producer Hauswerks faced when given the opportunity to rework Groove Armada’s classic I See You Baby (it was originally made famous by a Fatboy Slim remix) for their recent Little Black Book compilation. FM visited him in his Leeds studio to find out how the track came together. “Sometimes I purposely leave the clicks on the end of audio files, or the crackle, because I think it just gives it character. Obviously that sometimes just sounds massively wrong, but if you judge it right I…

Has your working process changed a lot over the years? Tassilo: “Yeah, there is a huge difference. When we did Pan-O-Rama eight years ago we both worked in one studio together in the Mobilee office. We had a Dell PC and worked on Cubase, but everything was done in the box with software. Now my studio has an analogue mixer and we also have a lot of outboard equipment that we can use for analogue summing, some nice preamps, mastering EQs and compressors. So it’s way more gear-loaded than it used to be and the music’s treated way better. We still use a PC, but a far more powerful one than any Mac you can get.”…

Multi-Functional Mayhem The Abstract Data Octocontroller might well be the module that transforms your set-up, or provides the modulation backbone for a new one The Octocontroller is an absolute mammoth of control, modulation and utilities. It has eight outputs that can be made to output up to 12 different types of signals, from LFOs to arpeggiated patterns, to gates and more. We asked Justin Owen from Abstract Data how the design came about and he explained: “When I first got into modular synths, one of the things I noticed very quickly was that getting multiple modulation sources to sync was quite difficult.” Speaking from experience, that isn’t just difficult, it’s a real inspiration killer! The Octocontroller aims to be an antidote to this, creating gates, pulses, LFOs, S&H CV, S&H…

How are your roles divided in the studio? SS: “Well I live in Boston, so there’s that bit of ocean between us. Paul usually sends something that he thinks I may be able to build something from – it could be a fairly finished track that would be ready to play in a club, then he’ll see if there’s any inspiration to do a vocal. Otherwise, I’ll do something at home using a basic kick drum, guitar chords and some pads and send them over to Paul who will run with it for a while here – then it all meets in this thing called Dropbox. I suppose mine is more of a writing studio; I’ve got a fantastic isolation booth to record vocals. I use a Neumann U87 microphone…

Fixed Length Recording On-the-fly recording is an essential part of the Push workflow. Let’s see how the Fixed Length function can be used to capture the perfect take Ableton’s Jesse Terry offers a handy tip for using the Fixed Length function when recording ideas into a new clip. “I generally keep this off, but there is a cool trick when making a long recording. With Fixed Length off, press record, and start playing and working on a riff – I generally practise with Record on, and once I feel I’ve got it right, I press the Fixed Length button, which ends the recording and loops the last few measures of the long recording (depending on the Fixed Length setting). It’s a good way to practise until you get it right,…

FX, Looper And Connectivity The Reface DX has some great effects onboard, much like its Reface brothers. However, there are two effect units available at once here, surpassing the other models. Effect types include distortion, touch wah, chorus, flanger, phaser, delay and reverb so there’s plenty to radically alter the dry tones. Importantly, these effects sound excellent and really enhance the already great-sounding new DX engine, plus you can tweak the effects in real time using the touch faders to spice up live performances. If only the old DXs had had FX! There’s also a handy basic looper with real-time overdubbing (same as the Reface CS) where you can record up to 2,000 notes (though there’s no real-time parameter recording). It can be sync’d to MIDI too and it’s a…

EXPLORE THIS MONTH’S EXCLUSIVE MUSIC TOOLS TO ENHANCE YOUR NEXT PRODUCTIONS. Tech House Megapack Cr2 Full of funky, rolling tech house drum loops, bass loops, synth loops, punchy drum hits, and more. It also includes the highly popular songstarter construction kits that allows you to generate creative ideas fast. Techno Drums Hyper These royalty-free samples are tempo-synced at 125BPM and served in an industry-standard 24-bit WAV and Apple Loops formats. Bass & Twerk Cycles & Spots Delivers 10 starter kits so you can get inspired, rearrange, and remix them to transform your next set. MIDI files are also available inside. Mainroom Deep House Technique Sounds Drawing inspiration from leading artists like Dusky, Oliver $, and Leftwing & Kody, this sample collection offers loads of exciting mainroom deep-house loops in MIDI…